Recently in Reviews
Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
01 Dec 2009
No need to rise for this Hallelujah Chorus
ENO did not exactly ‘import a choir of Heathens’ to encourage the Shaws of this world to ‘hasten’ to its version of ‘Messiah’ ‘if only to witness the delight of the public and the discomfiture of the critics,’ the contribution of ‘Heathens’ in musical terms being limited to representing the populace of an initially grey Britain (or so I assume) but for every critic who was discomfited — most of us — there were hundreds of audience members who loved it, so it’s fairly safe to predict a considerable hit.
It was famously said of Mrs Cibber that for her singing of ‘He was despised,’ all her sins should be forgiven, and I can forgive a lot of directorial sins for Catherine Wyn-Rogers’ deeply moving, absolutely committed performance, and for John Mark Ainsley’s characteristic skill in making fluent musical sounds whilst having to perform undignified acts. Sophie Bevan also had a lot to contend with in that ‘Rejoice Greatly’ was taken a little too fast for her, and she had to perform ‘I know that my Redeemer Liveth’ lying flat on a bed, something which no singer ought to be asked to do — those of us familiar with the Glyndebourne ‘Theodora’ will recall how Dawn Upshaw and David Daniels were similarly encumbered at the moment of their deaths, but there it was deeply moving as opposed to annoying, and at least they didn’t have to rise again and don an M&S cardigan. I found it less easy to forgive Brindley Sherratt’s blustery singing — ‘The Trumpet Shall Sound’ was off key and lacking in grandeur.
And did those trumpets sound for us? Did we, despite being committed Atheists, find ourselves saying ‘Wow, maybe there is something to all this religion stuff after all?’ Well, no — but we sometimes do just that after hearing ‘Messiah’ in the concert hall. Handel himself said that whilst composing the Hallelujah chorus, he felt ‘as if I saw God on his throne, and all his angels about him.’ All I felt here was the same sense of embarrassment I experience at the end of one of those services where everyone has to shake hands. The ENO chorus seemed somewhat subdued overall, and needless to say I Ioathed the drippy dancing.
Does it work? Musically, yes, and you would expect no less from Laurence Cummings’ ever-dynamic command of the orchestra, but the staging seemed too calculated to appeal to the ‘Christmas-addict.’ Of course, it’s a Christmas show, and if it brings in people who don’t know ‘Messiah’ then it will have achieved much, but somehow I had expected more from Deborah Warner: her concept of the kind of grey workaday world of which the poet wrote ‘So many, I had not thought death had undone so many’ being transformed by the suffering and death of Christ was a bit too ‘happy-clappy’ for me, and the Christmas-card images seemed trivialized. As for the child who kept running about to no discernible effect, I could have cheerfully shot the little tyke, adorable though he was. Jean Kalman’s lighting, as so often in this house and up the road, illuminated the stage with the most poetic sensibility.
Catherine Wyn-Rogers [Photo by Robert Workman courtesy of English National Opera]
Should you go? Well of course you should — you’ll hear some genuine Handelian singing and playing, and you’ll experience one of the great masterpieces in a new and occasionally refreshing light — just don’t expect to be as moved as you were by the same director’s ‘St John Passion,’ and be prepared to put up with a few squirm-inducing moments.